[Tig] Tig Digest, Vol 264, Issue 1

Carl Skaff carl at stopp.se
Wed May 30 22:27:45 BST 2012


Hi Simon, Stig and ather who find this interesting.
I was just thinking about this ful-rage vs legal-range options when I read
your posts.


So I though I'll clarify some thing about this "button":

Before, da Vinci used  to call it Disable/Enable Mapping. Now BMD-DaVinci
changed it to FullRange/LegalRange.
But jast speaking about this as a standalone button is wrong.
We now have the options to change between Full/Legal Range on multiple
stages:
Ingest from tape, monitoring, output to tape, overwrite the header of a
sourcefile to not follow what the header tells Resolve but instead read the
file as full or legal and also to override the "standard" of a file that we
render to.

So to clarify the different stages options:
Ingest from Tape:
If you have a "TV-master" then it is most likely in LegalRange and you
should ingest it is Legal.
If the tape is a Camertape (for example IMX/DV/HDcam etc) then it might be
a bit of a mix between Full and Legal. The Blacks could sit a 16 (on a 8bit
scale) while the whites could very well go up to 255 (instead of being
hard-clipped at the normal 235).
So if you are ingesting a camera-tape, then it is best to ingest the whole
0-255/0-1023 range. And the bonus you get from that it that when you show
your client before and after... it will always look flat and boring on the
"before" since the sourcetape 0% black was at 16 but since you ingested all
the way from 0, what "should" be black is now gray. So when you compare it
to your grade it will look boring:)
(and if someone delivered a master and it say FullRange on the label then
you should ingest it as FullRange, otherwise you will Clip the bottom/top
of the signal, and thats bad)

Same as above goes for when you are playing out to tape.
For most cases you would have it set to LegalRange. Otherwise you are not
producing a "legal tape"... but lets say you are outputting a HDSR to be
sent to a FilmRecorder... then you might want to send it FullRange... you
can of coarse send LegalRange. But that means you are scaling Full>Legal on
the output and then the receiving guy will scale it back to Full (when it
is stored on disc as a DPX it is (almost) always FullRange)
There is a huge risk of outputting a Tape in FullRange if the receiver
doesn't understand what that is. If you output as Full and the receiver
doesn't understand what it means... then he will cut of 0-16 & 940-1023 (or
in 8bit 0-16 & 235-255)... that will result in a MUCH more contrasty image
loosing lots of detail in the sky and shadows that you spend hours on
making pick keys for.


Overwrite the header of a sourcefile
This is an extremely useful tool, especially when working with Canon5D.
That camera records a h264 that is in YUV that should be a legal range
"container"... but since Canon doesn't understand what that is... they
decided to use the full range inside that container to store the image...
This results in that most applications that are reading those files, treats
them as being Legal. So a 5D-file will look more contrasty then it is.
The good thing here is that we can override this and force Resolve to treat
it as FullRange (with a simple rightclick).
It is probably useful for other formats also.


Override on Render
Same as above, but not we can force Resolve to create a file (that is
usually in FullRange) in LegalRange or the opposite way.
Good if you stumble into a situation were a locked down workflow chain
provens that one app reads a file wrong, then you can make a double-wrong
to get it right.


But the most important one of them all is Monitoring.
If you have a traditional CRT then I suppose you should have it to
LegalRange.
But if you have a Projector/LCD/Plasma and you don't want to scale between
Ful>Legal>Full then you could set the output to FullRange.
Just make sure your monitor (and SDI>HDMI converters) are all set to Full
so you don't clip of any important signal.
If you have the monitor set to Full and your output set to Legal, then that
will sort of work, but it wont matter how hard you push the contrast, the
black will never be black on your display and the white will never be white.



Hope this help.

If I'm wrong on anything then please reply so I don't spread lies:)


But here comes a question of what I've been thinking about:
Now when most people have left CRT and therefore could ver well be working
in FullRange on the monitoring... What do you use?

I suppose in an environment where you need to output/ingets/monitor a
tapedeck that is LegalRange... then it is wise to have the monitor set to
Legal, but otherwise I suppose we might as well change to FullRange so we
don't introduce any unnecessary  banding on the monitoring.

(on my Eizo 232 I need to turn on the "Range extension: ON" if I feed it
Legal Video... so it extends the range of the signal coming in... weired
name for that, why not just call it "Input: Full/Legal")


(Disclaimer: I don't work for BlackMagic/Eizo or any other then my employer
who only sells me)

/carl





____________________________
*Carl Skaff
Colorist*
Stopp Stockholm
Office +46 8 50 70 35 00

*Stockholm | Los Angeles | Linz*
www.stopp.se


---------- Forwarded message ----------
From: Simon Brazzalotto <brazzalotto.simon at gmail.com>
To: stig at sheriffcompany.no
Cc: tig at colorist.org
Date: Wed, 16 May 2012 11:31:43 +1000
Subject: Re: [Tig] Davinci Resolve Full Range vs Normal Range
Hi,

I know nothing about Adstream as I'm working long-form for TV with tape
delivery.  Broadcasters only accept product within the normal gamut limits.
 Anything delivered outside of specification is either rejected or passed
through a legaliser, which will clip off any vision falling outside  the
diamond display on a 601 WFM.  This will make your work look flat and
clipped.

I'm using an older version of Resolve where the video I/O and monitoring
settings on the config page offer "Enable Mapping" and "Disable Mapping".
 My workflow at the moment involves bouncing pre-conformed sequences in and
out via tape.  A lot of the camera original material has vision peaks
approaching 110%.  If I use "Enable Mapping" I clip off a lot of these
highlights on the way in.  To avoid this I ingest using "Disable Mapping"
but grade using "Enable Mapping".  I add a channel at the track level which
uses the primaries to globally correct the colour bars at the head of the
sequence.  I grab a gallery reference still of the bars at track level and
steal this from project to project.  This process lets me rescue detail out
of Resolve's clippers just the same as with file based conform, but still
deliver a product within legal gamut.

For what it's worth,
Simon Brazzalotto
ABC-TV Sydney.

On 15/05/2012, at 10:32 PM, stig at sheriffcompany.no wrote:

> Sohonet www.sohonet.co.uk sponsors the TIG.
> Support from Digital Vision www.digitalvision.tv
> Support from Blackmagic Design www.blackmagic-design.com
> Support from Dolby Laboratories www.dolby.com
> ====
>
>
>
>
>
> Hi,
>
> I have always worked with the normal range button checked in Davinci
> Resolve for TV-commercials.
> When taking the normal range file (MXF) back to Flame it is viewed as
> normal range as the rest of the commercials (from other production
> companies) were viewed as full range on the scopes.
>
> It is ok to deliver full range with Adstream, so why is that I have heard
> all colorist out there work normal range for TV delivery? Is this a
> misunderstanding?
>
>
>
> Mvh / Kind Regards
>
> Stig Olsen
> Regissør / Postprodusent
>
> Sheriff Film Company AS
> Sandaker 24C - bygg A, 0473 Oslo
> Org. nr: 989 716 492 MVA
>
> Tel: + 47 21 39 64 22
> Mob: +47 92 05 29 11
>
> www.sheriffcompany.no
> www.facebook.com/SheriffFilmCompany
> www.twitter.com/sheriff_film_co
>
> Velkommen innom vår nye hjemmeside www.sheriffcompany.no
>
> ______________________________
_________________
> http://reels.colorist.org
> http://tig.colorist.org/wiki3


More information about the Tig mailing list